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Spaces without drama or surface is an illusion, but so is depth

机译：没有戏剧性或表面的空间是一种幻想，但深度也是如此

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摘要

The Graham Foundation's exhibition Spaces without drama or surface is an illusion, but so is depth showed that the recent rise of digital collage among avant-garde practitioners has its roots in postmodernism's earlier sceno-graphic obsession. The exhibition featured nineteen commissioned works from architects, artists, and a scenographer alongside five historical references, all orchestrated by curators Ruth Estevez and Wonne Ickx and displayed in the Graham Foundation's Madlener House.Spaces without drama joined a provocative series of contemporary publications and exhibitions in propagating alternatives to the frequent commercial sleekness of architectural representations, whose commodi-tized realism often reads as fundamentally false. Estevez and Ickx sought to demonstrate that the widespread use of collage by architectural firms such as fala atelier, OFFICE Kersten Geers David Van Se-veren, and Sam Jacob Studio represents a strategic opposition to the ubiquity of photorealist digital renderings. Thus, the exhibition explored flatness: the making of images and buildings that function as images first and foremost. Through digital collage, architecture becomes a seriesof disciplined compositions to which surfaces are applied; mass and volume give way to layered planes.
机译：格雷厄姆基金会（Graham Foundation）的展览“没有戏剧或表面的空间”是一种幻觉，但深度也表明，前卫实践者中数字拼贴画的兴起源于后现代主义对绘画的早期迷恋。展览展出了19位来自建筑师，艺术家和场景设计师的委托作品，以及五种历史参考文献，全部由策展人Ruth Estevez和Wonne Ickx精心策划，并在Graham基金会的Madlener House中展出。传播替代建筑表示形式频繁商业化的时髦方式，其商品化的现实主义通常被视为根本上是错误的。 Estevez和Ickx试图证明，法拉工作室，OFFICE Kersten Geers David Van Se-veren和Sam Jacob Studio等建筑公司广泛使用拼贴代表了普遍存在的写实主义数字渲染的战略对立。因此，展览探索了平坦性：首先是图像的建造以及充当图像的建筑物。通过数字拼贴，建筑成为一系列应用了表面的纪律严谨的作品；质量和体积让位于分层平面。

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  • 来源
    《JSAH》 |2018年第3期|361-363|共3页
  • 作者

    PETER SEALY;

  • 作者单位

    University of Toronto;

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  • 正文语种 eng
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